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CORITA KENT but, there is only one thing that has power

13 Mars – 26 Avril, 2014 Galerie Allen, Paris Above: Sister Mathias (IHC choral director) leading Mary’s Day Parade, Immaculate Heart College, Los Angeles 1964 Reproduction permission of the Corita Art Center, Immaculate Heart Community, Los Angeles

Below: Immaculate Heart College Art Department, Los Angeles c1955 Reproduction permission of the Corita Art Center, Immaculate Heart Community, Los Angeles FRANCAIS :

La Galerie Allen est heureuse de présenter l’exposition but, there is only one thing that has power, consacrée à l’œuvre de Sœur Corita Kent, artiste pré-pop américaine incontournable.

Cette première exposition personnelle de Corita Kent à Paris réunit plus de 25 sérigraphies et vidéos historiques, embléma- tiques d’une œuvre socialement engagée. Elle révèle un regain d’intérêt pour l’œuvre et la vie de Sœur Corita Kent, dans la lignée d’une rétrospective itinérante aux États-Unis et de la publication d’un catalogue qui rassemble ses œuvres des années 50 aux années 80. Corita Kent, contem- poraine estimée des leaders politiques progressistes et des militants de la révolution culturelle tels que Daniel Berrigan, , Charles and Ray Eames, Henry Miller and , lègue une œuvre très actuelle, des années après sa dis- parition.

L’exposition à la Galerie Allen se concentre sur les œuvres réalisées au cours des années 60, décennie particulièrement fé- conde pour Corita Kent, alors directrice de la section art d’un collège religieux, le couvent du Cœur immaculé à Los Angeles. On y découvre l’évolution de son travail, depuis son approche la plus picturale de la sérigraphie du début des années 60, en passant par son usage de slogans publicitaires vers le milieu de la décennie, ses travaux souvent psychédéliques et visuelle- ment discordants de 1967, jusqu’à ses œuvres militantes de la fin des années 60. Sa compréhension du pouvoir de communi- cation et des possibilités stylistiques des mots imprimés a souvent été décrite comme égalant, voire surpassant celle d’artistes de renom tels que Barbara Kruger, Ed Ruscha et Bruce Nauman. Plusieurs vidéos mises en avant dans l’exposition montrent Corita Kent expliquant sa pratique et ses processions performatives empruntes d’une esthétique résolument pop.

L’emploi de la sérigraphie, technique publicitaire de reproduction, permit à Corita Kent de diffuser, en accord avec ses convictions démocratiques, son travail imprégné de passion et de foi pour la paix, le changement positif, la parole divine, l’égalité et le pouvoir de l’amour. Ces convictions, en phase avec leur époque, s’incarnent dans les films de cette période où ses recherches sur la réinvention contemporaine des rites religieux traditionnels et croyances sont explorés par le biais des processions de fêtes religieuses et des manifestations pacifiques. Corita Kent concevait l’esthétique pop et ses « publicités pour le bien commun » comme les moyens de susciter l’empathie et l’espoir nécessaires pour surmonter les réalités politiques les plus sombres de son époque : le mouvement des droits civiques et la guerre du Vietnam.

Frances Elizabeth Kent, née en 1918 à Fort Dodge, , était une religieuse catholique, connue sous le nom de Sœur Marie Corita Kent. Elle fut membre de la Communauté Cœur Immaculé de Los Angeles de 1938 à 1968. Ses croyances progres- sistes et les actions qu’elle entreprit tout au long de sa vie la décidèrent à quitter l’église pour vivre et travailler en tant qu’artiste indépendante. Corita Kent mourut à en 1987. ENGLISH:

Galerie Allen is pleased to present the exhibition of pivotal American proto-pop artist Sister Corita Kent, but, there is only one thing that has power.

This exhibition, Kent’s first solo exhibition in Paris presents her iconic socially engaged artworks including over 25 seri- graphs as well as historic videos. This exhibition marks a time of returned interest in the work and life of Sister Corita Kent with a touring retrospective throughout The and with the publication of an important new catalogue archiving her works from the 1950’s to the 1980’s. The artwork of Kent, a celebrated peer of progressive political leaders and cultural revolutionaries alike such as Daniel Berrigan, John Cage, Charles and Ray Eames, Henry Miller and Buckminster Fuller, seems contemporary now, decades after her passing.

The exhibition at Galerie Allen focus’s on Corita Kent’s works created in a single decade, the 1960’s, a particularly fertile period for Kent that includes her position as head of the art department at Immaculate Heart College in Los Angeles. The works include her more painterly approach to silkscreening from earlier in the decade, through to the use of advertising slogans mid-decade, the often visually discordant and psychedelic pieces from 1967 and protest works from the end of the decade. Her conceptual grasp of the communicative powers and stylistic possibilities of the printed word have been regularly argued to match or surpass that of renowned artists such as Barbara Kruger, Ed Ruscha and Bruce Nauman. Several videos of Kent discussing her practice and performative processions with a distinctly pop aesthetic also feature in the exhibition.

Her use of pop cultural vernacular such as advertising, west-coast love-in/psychadelic song lyrics and Godly text is a brighter more affirmative sun-scorched brand of pop to rival the concurrent black/blue and bleak version denoted by created amongst the lofts of the East. Adopting silk screen serigraphy, the commercial technique of reproduction suited Kent’s democratic belief for distributing her work imbued with her passion and belief in peace, positive change, God’s mes- sage, equality, and the possibility for, and power of, love. Such timely beliefs become evident in the films from this period where her explorations in contemporary re-imaginings of traditional religious ritual and belief are explored through Saints Day processions (Mary’s Day) and peaceful protests. Kent identified pop aesthetics and her “advertisements for the common good” as a vehicle in which she could better communicate the empathy and hope required to overcome the darker political realities of her time, namely the Civil Rights Movement and the war in Vietnam.

Frances Elizabeth Kent, born 1918 in Fort Dodge, Iowa, was a Catholic nun, known as Sister Mary Corita Kent, with the Im- maculate Heart Community in Los Angeles from 1938 – 1968. Her progressive beliefs and actions throughout her career and life lead her to leave the Church to live and work as an independent artist. Corita Kent died in Boston in 1986. SISTER CORITA Text by Aaron Rose

“Creativity belongs to the artist in each of us. To create means to relate. The root meaning of the word art is “to fit together” and we all do this every day. Not all of us are painters but we are all artists. Each time we fit things together we are creating - whether it is to make a loaf of bread, a child, a day.” – Corita Kent

Corita Kent was born Frances Kent in Fort Dodge, Iowa in 1918. As child, her family moved to Los Angeles and at eighteen years she joined the Order of the Immaculate Heart of Mary, taking the name Sister Mary Corita. As a Catholic nun, teaching and creating art would become her career path for most of her life. Corita, however, was not your typical art teacher. In fact, in my opinion, she was a revolutionary. She was a woman driven by a creative instinct so powerful that it by far transcended the uncommon circumstances from which her career sprung. In 1951 Corita received a master’s degree in art history from the University of Southern California. During this time, Corita’s works were largely iconographic, and were described by some as “neo-gothic” as they primarily borrowed phrases and depicted iconographic imagery from the Bible. By the early 1960’s, however, and due to her exposure to avant-garde artworks of the day, Sister Corita’s work developed significantly. Though she was an artist whose multi-disciplinary practice encompassed painting, photography, typography and graphic de- sign, her real focus was serigraphy, and particularly the art of silkscreen printmaking. At that time silkscreen was considered primarily a “sign-painter’s” medium, and not used much in fine art circles. Corita was instantly compelled by the astonishing effects that the combining of words and text with colorful abstract images could incite. Through screen printing she was able to produce large quantities of beautiful images on a humble budget. Corita was very much a populist in every sense. She chose to ignore the mechanisms of the art world and what she considered to be an “elitist system of distribution” in favor of pricing her editions inexpensively so anybody could afford them. In 1962, Corita began using popular culture as raw material for her work. Her screen prints often incorporated the arche- typal product brands of American consumerism alongside spiritual texts. Her design process involved taking an original ad- vertising graphic, perhaps something she found at a local shop or signage on the streets, and then appropriating it to suit her ideas. Many times she would tear, rip or crumple the image then re-photograph it. She frequently used grocery store signage, texts from scripture, newspaper clippings, song lyrics and writings from literary greats such as , ee Cummings, Walt Whitman and Albert Camus as the textual focal point of her work. Taking cues from the mass media and advertising, she began her evocative use, reuse, and re-contextualization of everyday phrases and images to create modern art that ad- dressed the current political and sociological issues. Her artworks from this period featured subjects ranging from poverty, materialism, and environmental degradation to inequality, social injustice, and war. She combined common images and sym- bols—such as logos, magazine covers, or simply a bread wrapper with text to redefine the original item’s purpose. Meanwhile, teaching at the Immaculate Heart College, Sister Corita’s classes were much more than your standard art course. They were described as “events, happenings.” In creative circles, she was becoming known as a “challenger, a free-thinker, a celebrator, and an encourager!” She taught her students that one of the most important rules, when looking at art or watch- ing films, was “Never to allow yourself to blink because one might miss something extremely valuable.” It has been said that the quality the students cherished most about her teaching style was her direct involvement in their creative growth. She was known for always having eye contact with each individual in her class, focusing her attention at all times entirely on the stu- dents and their work. She was a firm believer in inspiring creativity in others, so much so that other nuns as well as her own art students often helped to produce installations and banners that hung around the conservative campus featuring vibrant typography and huge psychedelic blocks of colour. All this activity did not go unnoticed. By the mid-1960’s, her unorthodox leadership of the Immaculate Heart art department brought fame and with it, crowds of visitors. The Immaculate Heart art department became legendary because of the illustri- ous figures, that by Corita’s invitation, all came to speak there. Guest lecturers included luminaries such as designers Charles and Ray Eames, musician and artist John Cage, author Henry Miller and the graphic designer Saul Bass. By inviting these outside influences into her community, Corita beckoned people to sidestep convention in favor of challenging oppression and celebrating change. As the tumultuous events of the sixties dragged on, Sister Corita’s personal work evolved again and began to focus more specifically on current political issues that reflected her powerful belief in social responsibility. In response to the assassina- tions of Robert F. Kennedy and Martin Luther King, Jr., the escalating war in Vietnam, and continuing racial tensions in the United States, Corita produced a new series of emotionally raw serigraphs. These works incorporated a new technique, pho- tographic images as stencils, to express her distress and sorrow about events of the day while still maintaining a positive mes- sage and reminding viewers that virtuous acts are never in vain. (she made these after she’d left the community, I personally don’t think it’s a coincidence that her most overtly political works came AFTER she was no longer dueling with the Cardinal) Not surprisingly, Corita’s teaching techniques, coupled with all the free-flowing creativity and controversial subject matter in her personal life and art didn’t always sit well with the church. There were tensions and frequent clashes with the archdio- cese. As was inline with Immaculate Heart College thinking she encouraged her sisters “to do their own thing,” wear street clothing and, in her case, design prints in support of various social and political causes. During the late Sixties, the church, like the rest of the country, was going through significant changes, which angered, threatened, and tormented many. To some, Corita’s art began to be a defacto representation of all this unrest and it infuriated certain conservative church leaders including Cardinal John McIntyre, the head of the local archdiocese. Corita was considered dangerous. Harvey Cox labeled her a “guerilla with a paint brush.” All of this controversy took quite a toll on Sister Corita and the entire Immaculate Heart community, who had been motivated purely by love and the joy of the creative spirit to experiment. Perhaps her celebrity came too soon for Corita. It was something she never asked to be, but she carried the burdens of stardom with grace, kind- ness, and loving warmth. She was never arrogant, and accepted her prominent status because she believed it would be good for her community and help the Immaculate Heart College. However, in 1968, after more than 30 years as an Immaculate Heart of Mary sister, and due to the immense pressure she was under, she began to ponder a leave of absence. Perhaps she was hoping to resurrect her drooping spirit. After this short sabbatical she informed her associates that she would not return, and this literally broke the hearts of her fellow sisters, and the entire Immaculate Heart community. Corita felt that she was unable to radiate, give, share - and needed time for healing. She began to make plans to live a more private life and to have what she described in her own words as, “more time for reflection and observation.” She left the order in 1968 and moved to Boston, where she devoted herself entirely to making art. She lived there quietly, carrying out commissions for murals and other works. In the early 1970’s, the artist developed cancer, and though her doctor gave her only six months to live, she knew that she had major art pieces to accomplish before she died. Corita entered an immensely productive period where she created several hundred serigraph designs, for posters, book covers, and murals. Her work from this time includes a 150-foot-high natural gas tank in the Dorchester neighborhood of Boston and the 1985 “Love” stamp, reportedly the best- selling postage stamp in history. Seven years later, on September 18, 1986, Corita succumbed to the cancer and passed away. Though I have had the pleasure of being exposed to the works of numerous and wonderful creative minds in my career, few have really motivated me to take action. The first time I saw Corita’s works was like a call to arms for me. Her absolute dedication to a “populist” mentality, while never shying from the academic discourse is a rare trait in artists even by today’s standards. To glance back at her body of work is a true lesson in the power that an artist can have in society. Through both her artwork and her teaching, Corita touched many hearts and minds. In my opinion, her blueprint for a creative career is one that should be followed by each and every creative person…to walk amongst nobility yet never loose the common touch.

– Aaron Rose is an American curator and film maker living and working in Los Angeles. CORITA KENT CORITA KENT earth as a sign, 1962 manifest as language, 1963 sérigraphie sur papier sérigraphie sur papier 64.77 x 77.79cm 64.77 x 77.79cm CORITA KENT help the big bird, 1966 sérigraphie sur papier 76.2 x 91.44cm

CORITA KENT manifest as language, 1965 sérigraphie sur papier 76.2 X 91.44 CORITA KENT the sure one, 1966 sérigraphie sur papier 76.2 x 91.44cm

CORITA KENT morning, 1966 sérigraphie sur papier 45.72 X 76.2 CORITA KENT handle with care, 1967 sérigraphie sur papier 58.42 x 88.9cm

CORITA KENT don’t back up, 1967 sérigraphie sur papier 75.565 x 91.44cm CORITA KENT but, there is only one thing that has power, 1967 sérigraphie sur papier 58.42 x 45.72cm CORITA KENT come alive, 1967 sérigraphie sur papier 33.66 x 58.42cm

CORITA KENT that man loves, 1967 sérigraphie sur papier 49.53 x 58.42cm CORITA KENT with love to the everyday miracle, 1967 sérigraphie sur papier 58.42 X 88.9

CORITA KENT wet and wild, 1967 sérigraphie sur papier 45.72 X 58.42 CORITA KENT solw, 1967 sérigraphie sur papier 58.42 X 47.63 CORITA KENT CORITA KENT news of the week, 1969 if i, 1969 sérigraphie sur papier sérigraphie sur papier 29.21 x 57.15cm 29.21 x 57.15cm CORITA KENT only you and i (part 1 and 2), 1969 sérigraphie sur papier 29.21 x 57.15cm Sister Mary Corita Kent Born Frances Elizabeth Kent, 1918 in Fort Dodge, Iowa, USA Died 1986, Boston, , USA.

Education

MA, University of Southern California, Los Angeles, CA 1951 Immaculate Heart College, Los Angeles, CA 1941

Selected Solo Exhibitions

2014 Let the Sun Shine In, Circleculture Gallery, Berlin, Germany But, There is Only One Thing That Has Power , Galerie Allen, Paris, France Someday Is Now: The Art of Corita Kent, Museum of Contemporary Art, Cleveland, OH; The Andy Warhol Museum, Pittsburgh, PA 2013 The Gospel According to Corita Kent, Parson House Gallery, Assonet, MA The Corita Kent Exhibition, The Herb Alpert Educational Village, Santa Monica, CA There Will Be New Rules Next Week, Dundee Contemporary Arts Center, Dundee, Scotland Someday Is Now: The Art of Corita Kent, Tang Museum, Saratoga Springs, NY 2012 R(ad)ical Love: Sister Mary Corita, National Museum of Women in the Arts, Washington, DC To Believe: The Spirited Art of Corita, John K. Mullen of Denver Memorial Library, The Catholic University of America, Washington, DC 2011 A Joyous Protest: The Graphic Work of Corita Kent, The Markhausen Gallery of Art at Concordia University, Seward NE Sister Corita: The Joyous Revolutionary, Thornhill Gallery, Avila University, Kansas City, MO Sister Corita Christmas, Kit Gallery, Tokyo, Japan Tas Yard Café, Tokyo, Japan E is for Everyone: Celebrating Sister Corita, The Museum of Craft and Folk Art, San Francisco, CA To Create Is to Relate, Contemporary Art Gallery, Vancouver, Canada Celebrate Corita!, Castro Valley Library, San Francisco, CA; The John O’Lague Galleria at Hayward City Hall, Hayward, CA yobel—Jubilee: A Celebration of the Life of Corita, Buckley Center Gallery, University of Portland, Portland, OR Sister Corita Kent, Neon Parc, Melbourne, Australia 2010 Sister Corita: The Joyous Revolutionary, Sordoni Art Gallery, Wilkes-Barre, PA; University of Michigan Art Museum, Ann Arbor, MI; Tyler Art Gallery, Oswego, NY Corita Prints and Posters, Ufizzi Salon, Austin, TX EveryDAY Miracles: Corita, San Pedro Chamber of Commerce, San Pedro, CA We Can Create Life without War – The Corita Peace Project, Courtyard Gallery, Hollywood Lutheran Church, Los Angeles, CA 2009 Corita Kent, Zach Feuer Gallery, New York, NY Corita Retrospective, Los Angeles Cathedral, Los Angeles, CA The Corita Show, LouWe Gallery, Pasadena, CA A Passion for the Possible: The Works of Sister Corita, California State University, Northridge, Northridge, CA (Curated by Aaron Rose) Sign Language: The of Sister Corita, Missoula Art Museum, Missoula, MT (Curated by Ted Hughes) Corita: A Retrospective 1951-1985, Judson Studio Gallery, Los Angeles, CA Sister Corita: The Joyous Revolutionary, Richard F. Brush Art Gallery, Canton, NY; Crown Center Gallery, Loyola University Chicago, Chicago, IL Corita – Breaking (All) the Rules, Jundt Galleries, Gonzaga University, Spokane, WA Corita: Serigraphs and Watercolors 1951-1985, The Cathedral of Our Lady of the Angels, Los Angeles, CA 2008 Sister Corita, Kalfayan Galleries Thessaloniki, Athens, Greece Inspired Images, Breslin Fine Art Gallery, East Greenwich, RI What’s in it for you? Plenty! The practice of Sister Corita, JET, Berlin, Germany (Curated by Signal) Sister Corita, Kalfayan Galleries, Athens, Greece; Thessaloniki, Greece Corita: A Retrospective 1951-1985, Judson Gallery of Contemporary and Traditional Art, Los Angeles, CA Power Up: Serigraphs by Corita Kent, Thacher Gallery at the University of San Francisco, San Francisco, CA (Curated by Fr. Thomas Lucas) We Can Create Life Without War: A Retrospective Exhibit of the Works of Corita Kent, Breslin Fine Arts, Inc., East Greenwich, RI A Passion for the Possible: The Works of Sister Corita, Circle Culture, Berlin, Germany; Monster Children Gallery, Sydney, Australia (Curated by Aaron Rose) Power Up: Sister Corita, DCA Dundee Contemporary Arts, Dundee, Scotland Power Up—Have a Hippy Holiday, Barneys, New York, NY 2007 Bright Bird: The Art of Sister Mary Corita Kent, Spirit Room Gallery, Fargo, ND yes People Like Us: Prints from the 1960s by Sister Corita, Museum Ludwig, Ludwig, Germany (Curated by Julie Ault) Corita Kent: Serigraphs, The Snite Museum of Art, Notre Dame, IN Corita Kent Serigraphs, LouWe Gallery, Pasadena, CA Wet and Wild: The Spirit of Sister Corita, Signal Center for Contemporary Art, Malmo, Sweden 2006 Corita’s Love of Life, San Luis Obispo Art Center, San Luis Obispo, CA Sister Corita: Works from the 1960s, Between Bridges, London, UK (Curated by Julie Ault) 2005 A Passion for the Possible: Serigraphs by Corita, St. Paul’s Cathedral, San Diego, CA 2004 The Power of Corita, A Retrospective, Claremont School of Theology, Claremont, CA 2000 The Big G Stands for Goodness: Corita Kent’s 1960s Pop, Luckman Gallery, LosAngeles, CA; Norah Eccles Harrison Museum of Art, Utah State University; Donna Beam Fine Art Gallery, University of Nevada, Las Vegas, NV; UTSA Art Gallery, University of Texas, San Antonio, TX; Beaver College (Arcadia University) Art Gallery, Glenside, PA (Curated by Michael Duncan) 1981 Corita Kent, Suzanne Brown Gallery, Scottsdale, AZ 1980 Corita: A Retrospective, De Cordova Museum, Lincoln, MA 1967 (Maybe 1965) Morris Gallery, New York, NY 1965 Peace on Earth, I.B.M. Storefront, New York, NY

Selected Group Exhibitions

2013 Tell It to My Heart: Collected by Julie Ault, Museum fur Gegenwartskunst, Basel, Switzerland; Culturgest, Libson, Portugal; Arists Space, New York, NY Decade of Dissent: Democracy in Action 1965-1976, Santa Monica Art Studios, ARENA 1, Santa Monica, CA Letters from Los Angeles: Text in Southern California Art, Los Angeles Convention Center, Los Angeles, CA Air de Pied-à-terre, Lisa Cooley Gallery, New York, NY Elements, Rudiments, and Principles, Boston University Art Gallery, Boston, MA Doing as You Like, Grafikens Hus, Mariefr, ed, Sweden; Hein Onstad Art Centre, Oslo, Norway 2012 Arthur Rainbow, Air de Paris Gallery, Paris, France Decade of Dissent: Democracy in Action 1965-1976, Center for the Study of Political Graphics at West Hollywood Library, West Hollywood, CA; Santa Monic Art Studios, ARENA 1, Santa Monica, CA Purely Observational/Everyday Political: Artwork of and Inspired by Corita Kent, Ben Maltz Gallery, Otis College of Art and Design, Los Angeles, CA Trienal Poli/Gráfica de San Juan: América Latina y el Caribe, El Panal/The Hive, Puerto Rico you, Me, She, We, Fleisher/Ollman Gallery, Philadelphia, PA Doing What You Want: Marie Louise Eckman, Corita Kent, Mladen Stilinovic and Martha Wilson, Testa Konsthall, Stockholm, Sweden Decades of Dissent: Democracy in Action 1960 – 1980, Skirball Cultural Center, Los Angeles, CA (Organized by the Center for the Study of Political Graphics) Amateurism, Heidelberger Kunstverein, Heidelberg, Germany Pull Everything Out, Spike Island, Bristol, United Kingdom 2011 1.85 Million, Campbelltown Arts Center, Sydney, Australia (Curated by Joseph Allen Shea) For Love Not Money, Tallinn Print Triennial, Tallinn, Estonia Women and Spirit: Catholic Sisters in America, The National Mississippi River Museum & Aquarium, Dubuque, IA; Center for History, University of Notre Dame and Saint Mary’s College, South Bend, IN; Mount St. Mary’s College, Los Angeles, CA California Design, 1930 – 1965: Living in a Modern Way, Los Angeles County Museum of Art, Los Angeles, CA The Personal is Political: Women Artists from the Collection, The Museum of Contemporary Art Los Angeles, Los Angeles, CA Civic Virtue: The Impact of the Los Angeles Municipal Art Gallery and the Watts Towers Arts Center, Municipal Gallery at Barnsdall Art Park and the Watts Towers Arts Center, Los Angeles, CA Cruising the Archive: Queer Art and Culture in Los Angeles 1945 – 1980, ONE Archives Gallery and Museum, West Hollywood, CA Proof: The Rise of Printmaking in Southern California, Norton Simon Museum, Pasadena, CA Pacific Standard Time, Los Angeles, CA 2010 you Can Heal Your Life! Circus Gallery, Los Angeles, CA Pieces of 9: Reframing the Collection, University Art Museum, California State University, Long Beach, CA The Joyous Revolutionary, Louise Hopkins Underwood Center for the Arts, Lubbock, TX Power Up: Female Pop Artists, Kunsthalle Wein, Vienna, Austria Women and Spirit: Catholic Sisters in America, S. Dillon Ripley Center at the Smithsonian, Washington, DC; Statue of Liberty National Monument/Ellis Island Immigration Museum, New York, NY; Maltz Museum of Jewish Heritage, Cleveland, OH Messaging: Text and Visual Art, Chadron State College, Chadron, NE; Sheldon Museum of Art, Lincoln, NE Corita and Friends: 40 Years of Heart Tales, fINdings Art Center, San Pedro, CA California Design Biennial: Action/Reaction, Pasadena Museum of California Art, Pasadena, CA SWELL: Art 1950 – 2010, Nyehaus, Friedrich Peztel Gallery, and Metro Pictures, New York, NY Freedom of Speech, Hamburg, Germany The California Endowment, Sacrament, CA 2009 Women and Spirit: Catholic Sisters in America, Cincinnati Museum Center, Cincinnati, OH; The Women’s Museum, Dallas, TX Signs of Change: Social Movement Cultures, 1968- present, Miller Gallery, Carnegie Mellon University, Pittsburgh, PA (Curated by Josh MacPhee) Divine Abstractions, Gallery 92 West, Fremont, NE Connections: LA Printmaking 1962 to 1973, Los Angeles Municipal Art Gallery at Barnsdall Art Park, Los Angeles, CA Winter, State Farm Insurance Building, Los Angeles, CA (Curated by Donald Krieger) I Am. Amen., Trahern Gallery, Austin Peay State University, Clarksburg, TN 2008 That was Then…This is Now, P.S. 1 Contemporary Art Center, New York, NY Signs of Change: Social Movement Cultures 1960s to Now, Exit Art, New York, NY; Miller Gallery, Carnegie Mellon, Pittsburgh, PA (Curated by Josh MacPhee) 246 and Counting, Recent Architecture and Design Acquisitions, San Francisco , San Francisco, CA Made in the USA, The LA Brewery, Los Angeles, CA That L.A. Desire (Part 1), Galerie Dennis Kimmerich, Dusseldorf, Germany Social Space Between Speaking and Meaning, White Columns, New York City, NY Flower Power: A Subversive Botanical, New Mexico Museum of Art, Santa Fe, NM Dissent! 1968 & Now, Laband Art Gallery, Loyola Marymount University, Los Angeles, CA HouseGuest, Armand , University of California, Los Angeles, Los Angeles, CA We Have Never Met Before […], Standard (Oslo), Oslo, Norway Brussels Biennial 1, Brussels Biennial, Brussels, Germany 2007 If Everybody Had an Ocean: Brian Wilson, an Art Exhibition, CAPC Musee d’Art Contemporain de Bordeaux, Bordeaux, France; Tate St. Ives, Cornwall, England (Curated by curated by Alex Farqueharson) The Believers, Massachusetts Museum of Contemporary Art, North Adams, MA (Curated by Jerome Grand and Nato Thompson) Uneasy Angel/Imagine Los Angeles, Sprueth Magers, Munich, Germany Darling Take Fountain, Kalfayan Galleries, Athens, Greece Endless Western Sunset, Leo Castelli Gallery, New York City, NY Two Years, Whitney Museum of American Art, New York City, NY 2006 Dissent!, Fogg Museum, Harvard University, Cambridge, MA Herd Instinct 360, Greene Naftali Gallery, New York City, NY 2005 Just do it!, The Subversion of Signs from Marcel Duchamp to Prada Meinhof, Lentos Art Museum, Linz, Austria 2000 Power Up, Sister Corita and Donald Moffett, Interlocking, Armand Hammer Museum, University of California, Los Angeles, Los Angeles, CA (Curated by Julie Ault) 1962 American Printmakers 1962, Emily Lowe Art Center, Syracuse University, Syracuse, NY 1959 Religious Subjects in Modern Graphic Arts, New York City, NY (circulated by ) 1955 Southern California Serigraphs, Los Angeles County Museum of Art, Los Angeles, CA 1954 young American Printmakers, Museum of Modern Art, New York, NY 1952 American Water Colors, Drawings, and Prints, Metropolitan Museum of Art, New York, NY Collections

Art Institute of Chicago, Chicago, IL Achenbach Foundation for Graphic Arts, San Francisco, CA Addison Gallery of American Art, Andover, MA Albion College, Albion, MI Armand Hammer Museum, Grunwald Center for Graphic Arts, UCLA, Los Angeles, CA Art Institute of Zanesville, Zanesville, OH Beaver College, Glenside, PA Bibliotheque Nationale, Paris, France Brauer Museum of Art, Valparaiso University, IN Brooks Memorial Art Gallery, Memphis TN California Palace of the Legion of Honor, San Francisco, CA Cincinnati Art Museum, Cincinnati, OH Dallas Museum of Art, Dallas, TX Dartmouth College, Hanover, NH Free Library of Philadelphia, PA Gonzaga University, Spokane, WA Gutman Library, Harvard University, Cambridge, MA , Harvard University, Cambridge, MA Illinois Wesleyan University, Bloomington, IL Library of Congress, Department of Prints, Washington, DC Lindenwood College, St. Charles, MO Los Angeles County Museum of Art, Los Angeles, CA Los Angeles Public Library, Los Angeles, CA Ludwig Museum, Cologne, Germany Luckman Gallery, California State University, Los Angeles, CA Memphis Brooks Museum of Art, Memphis, TN Metropolitan Museum of Art, New York, NY Mills College, Oakland, CA Museum of Contemporary Art, Los Angeles, CA Museum Fine Arts, Boston, MA Museum Fine Art, San Francisco, CA Museum of Modern Art, New York, NY New York Public Library, New York, NY , Washington DC Oregon State College, Corvallis, OR Pennsylvania State University, University Park, PA Philadelphia Museum of Art, Philadelphia, PA Philbrook Art Center, Tulsa, OK The Print Club, Philadelphia, PA Queensland Art Gallery/ Gallery of Modern Art, Brisbane, Australia San Francisco Museum of Modern Art, San Francisco, CA Schlesinger Library, Harvard University, Cambridge, CA Seattle Public Library, Seattle, WA Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, NE Stanford University, Stanford, CA Tang Museum, Skidmore College, Saratoga Springs, NY Texas Wesleyan College, Fort Worth, TX Thiel College Collection, Greenville, PA University of British Columbia, Vancouver, Canada University of Michigan, Ann Arbor, MI University of Minnesota, Minneapolis, MN University of Oklahoma, Norman, OK University of South Carolina, Columbia, SC Victoria and Albert Museum, London, England Virginia Museum of Fine Arts, Richmond, VA Whitney Museum of American Art, New York, NY

Selected Bibliography: Reviews

Alonso, Roman and Lisa Eisner. “Sister Corita.” C Magazine October 2008: 128. Braithwaite, Chris. “The Painterly Nun,” Newsweek, December 4, 1967, 88 – 89. Carlin, T.J. “Sister Corita Kent.” Time Out New York 19-25 November 2009: 57. Cembalest, Robin. “From Black Power to Migrants’ Power.” ARTnews.com 22 January 2013. Cook, Greg. “The High Voltage Work of Corita Kent.” The Phoenix 7 May 2008 “Corita Kent, Artist and Nun, Designed ‘Love’ Stamp of 60’s.” The New York Times (September 19, 1986). Cotter, Holland. “Sister Mary Corita.” The New York Times 6 November 2009: C30. Duncan, Michael. “Someday is Now: The Art of Corita Kent.” BrooklynRail.org May 2013. Embray, Richard. “Heroes: Sister Corita Kent.” V Magazine 15 January 2007. “Joyous Revolutionary.” Time 6 September 1967. Fiske, Edward B. “Sister Corita,” The New York Times, November 8, 1968, 35. Gignoux-Wolfsohn, Gabrielle. “Corita Kent Day inspires participants to “think, act, and love.” The Skidmore News 28 March 2013. Harvey, Doug. “Nuncomformist: Sister Corita Kent’s Pop Subersions,” LA Weekly, February 18-24, 2000. Henneberger, Melinda. “Walking Corita Kent’s Bumpy Road.” The Washington Post 19 June 2012. Kley, Elisabeth. “Gotham Art & Theater: Sister Corita.” Artnet.com November 2009. Knowles, Gabriel. “Sister Corita.” The Thousands. Web. Lancaster, Mary. “Celebrate Artist and Activits Corita Kent.” Nantucket Independent 8 February 2008. Madame Pickwick. “Peacenik Chapel.” Madame Pickwick Art Blog. Web. 12 August 2011. Madame Pickwick. “Get Inspired: Spontaneous Creationism”. Madame Pickwick Art Blog. Web. 11 August 2011. Madame Pickwick. “Voice of the Popular Soul.” Madam Pickwick Art Blog. Web. 23 July 2011. Norris, Doug. “Retrospective exhibition ‘Life Without War’ offers lessons.” South County Independent 8 May 2008. “Northwest Missouri State University.” Web. 12 Aug. 2011. O’Sullivan, Micahel. “R(ad)ical Love: Sister Mary Corita.” Washington Post 8 June 2012. Pethick, Maddy. “Sister Corita Kent Happening.” Harmony arrangements. Web. 11 July 2011. Prada, Carlo. “Sister Art: Una mostra a New York celebra le grafiche pop di Sorella Corita Kent.” Repubblica.it 23 April 2013. Richard, Frances. “Sister Mary Corita: Zach Feuer Gallery.” Artforum February 2010: 199-200. “Riverside: Groundbreaking female artists to be spotlighted.” The Press-Enterprise 4 January 2013. Roberts, Caroline. “Reflecting on Corita Kent and the Gas Tank.” Bostonist 26 October 2007 “Sister Corita: From Wonderbread to Workshops”. Reaction [beta]. Web. 24 June 2011. Rothon, Pamela. “Interview with Sister Mary Corita Kent.” Fascimile Magazine April 2007. Shaw, Cameron. “Sister Corita Kent” Artforum.com November 2009 Shirey, David L. “The Painting Nun” Newsweek 4 December 1967: 89. Smith, Roberta. “Artist and Surfer as Best Buddies.” The New York Times 23 July 2010: C23, C31. Wilson-Bryan, Julia. “Someday is Now: The Art of Corita Kent.” Artforum January 2013: 78. Woodward, Kenneth L. “The Nun: A Joyous Revolution” Newsweek 25 December 1967: 45-48. Selected Bibliography: PUBLICATIONS

Ault, Julie. Come Alive! The Spirited Art of Sister Corita. Four Corners Books: London, 2007. Cox, Harvey and Samuel A. Eisenstein. Sister Corita. Pilgrim Press: Boston, 1968. Kent, Sister Mary Corita and Jan Steward. Learning by Heart: Teachings to Free the Creative Spirit. Allsworth Press, 2009. Kent, Sister Mary Corita. With All the Petals, Yes: Sister Mary Corita. 1966. Kent, Sister Mary Corita and Daniel Berrigan. Footnotes and Headlines. Herder and Herder,1967. Kent, Sister Mary Corita. Damn Everything But the Circus. Holt, Rinehart and Winston, 1970. Kent, Sister Mary Corita with Elizabeth Bugenthal. Ugo Betti Book and Portfolio. Immaculate Heart College. Kent, Sister Mary Corita. Footnotes and Headlines. Herder & Herder. Kent, Sister Mary Corita with Gerald Huckaby. City, Uncity. Doubleday & Co. Kent, Sister Mary Corita with Joseph Pintauro. To Believe in Things. Harper & Row. Kent, Sister Mary Corita and Bernard Gunther. High Cards. Harper & Row. Kent, Sister Mary Corita, et al. Sister Corita. Pilgrim Press, 1968. Kent, Sister Mary Corita. Moments. Beacon Press, 1982. Lorraine Wild, Tom. Rethinking Design Number Five: The Visual Language Of Subcultures by Pentagram. Mowhawk Paper Mills; Cohoes, New York, 1999. Pintauro, Joseph and Sister Corita. To Believe in God. HarperCollins, 1968. “Tang Museum to exhibit amazing retrospective of Corita Kent.” The Saratogian 11 January 2013. Rothon, Pamela. “A Conversation with Corita Kent.” American Way (November 1970): 7-14. Rubinstein, Charlotte S. American Women Artists. G.K. Hall, 1982. Trienal Poli/Gráfica de San Juan: El Panal/The Hive. Programa de Artes Plastica, 2012. van Raden, Rolf. “Pop Meets Authority - Sister Corita Kent und der katholische Widerstand.” Freedom of Speech. n.b.k. Hamburb, Germany, 2011: 92 – 97.

Awards

Special Recognition of Work in Advertising, Advertising Agency Association, 1972 Award for Achievement in Art, Governor’s Committee on the Status of Women, Massachusetts, 59 rue de Dunkerque 75009 Paris France +33 (0)1 45 26 92 33 [email protected] galerieallen.com

For any further information and/or high resolution imagery please contact: pour plus d’informations et/ou HD images veuillez contacter:

Sokhane Toure +33 (0)1 45 26 92 33 [email protected] galerieallen.com

This (These) serigraph (s) is (are) on loan from the Corita Art Center, Immaculate Heart Community, Los Angeles, CA.

Outside of the exhibitions held at Galerie Allen all further requests for informations and/or images should be directed to Corita’s formal representative, the Corita Art Center, Immaculate Heart Community, Los Angeles, California. www.corita.org